Category Archives: Gene Wilder

1974 Films, Cloris Leachman, Comedy, Gene Hackman, Gene Wilder, Madeline Khan, Mel Brooks, Peter Boyle, Teri Garr

Young Frankenstein-1974

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Young Frankenstein-1974

Director Mel Brooks

Starring Gene Wilder, Peter Boyle, Teri Garr

Scott’s Review #1,347

Reviewed February 27, 2023

Grade: A

Young Frankenstein (1974) is one of the funniest, most authentic examples of slapstick comedy done right. The physical timing, facial expressions, and dialogue delivery are sheer perfection from the well-known cast.

Many of whom are stars of the comedy genre.

The fact that director Mel Brooks took a classic horror film as distinguished as Frankenstein (1931), and made a cross-genre sequel, is pure brilliance.

Even better is the incorporation of black-and-white filmmaking resembling the 1930s masterpiece so the setting feels similar. This is aided by the recreation of the original set designer Kenneth Strickfaden’s lab equipment from the 1931 film. 

Brooks co-wrote the screenplay with star Gene Wilder, a comic legend, and the writing is brilliant crackling with wit and energy.

The 1970s film watched decades later has lost none of its original appeal holding up astoundingly well after most of the cast and director have left this world. It can be watched over the Halloween season for the proper atmosphere or at any time.

Ideally, recommended is to watch Frankenstein either before or after seeing Young Frankenstein for ideal pleasure.

Respected medical lecturer Dr. Frederick Frankenstein (Wilder) learns, much to his chagrin, that he has inherited his infamous grandfather’s estate in Transylvania, Romania.

The original Frankenstein’s reputation is so tarnished that Frederick wants nothing to do with the name even going so far as changing the pronunciation of his surname to “Fronkensteen”.

Begrudgingly arriving at the castle, Dr. Frankenstein soon begins to recreate his grandfather’s experiments with the help of servants Igor (Marty Feldman), Inga (Teri Garr), and the rigid Frau Blücher (Cloris Leachman).

After he creates his monster (Peter Boyle), a new set of complications ensue with the arrival of the doctor’s fiancée, Elizabeth (Madeline Kahn), and the unleashing of the frightening beast on the small town.

Comedy and horror are worlds apart but Brooks and Wilder pay respect and tribute to the classic horror film by not mocking it but instead embracing it and enhancing the story with Young Frankenstein.

You could say it’s a sequel in addition to a spoof made over forty years later.

The characters are the best part and each one is enveloped by its actor in fine form. Led by Wilder as the mad scientist, bug-eyed Igor (pronounced ‘Eyegor’ naturally) explained to be the grandson of Igor in Frankenstein, is a personal favorite of mine followed by Garr as the secret romantic interest for Wilder.

My favorite scenes are when Igor reveals that he took the wrong brain for Frankenstein’s experiment belonging to ‘Abby Normal’ instead of ‘Abnormal’ as the label read.

Inga and Frederick have instant chemistry leaving Kahn’s Elizabeth in the dust as far as a romantic triangle. Hilarity between the pair occurs in the final sequence when, after a lobotomy, she is delighted to realize that Frederick has received the monster’s “enormous Schwanzstucker”.

This is not to diminish Boyle, Leachman, or Kahn who each do their part to make Young Frankenstein an ensemble. Apt viewers will spot Gene Hackman in the role of Harold, the blind man.

As an aside, Brooks brilliantly pays tribute to Bride of Frankenstein (1934) by giving Elizabeth the same hairstyle.

The double entendre is fast and furious from knockers to the male anatomy.

The only scene that didn’t wow me was the sequence where Frankenstein and his creation perform “Puttin’ on the Ritz”. The monster singing and dancing was too amateurish for me but for some, it’s a favorite scene.

A parody that works on nearly every level and is the best of all the Brooks films (even barely usurping my forever fondness for 1977’s High Anxiety), Young Frankenstein (1974) is a treasure.

Silly, devoted, and creative, it revives a classic in only the best of ways and is filmmaking 101 in how to create a proper spoof.

Oscar Nominations:  Best Adapted Screenplay, Best Sound

1967 Films, Best Film of the Year, Biography, Crime Drama, Drama, Faye Dunaway, Gene Hackman, Gene Wilder, Warren Beatty

Bonnie and Clyde-1967

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Bonnie and Clyde-1967

Director Arthur Penn

Starring Warren Beatty, Faye Dunaway

Scott’s Review #628

Reviewed March 25, 2017

Grade: A

Bonnie and Clyde is an excellent 1967 crime drama that is not only a great film, but successfully, and surprisingly wound up influencing an entire generation, becoming somewhat of a rallying cry for the youth generation of the time.

Released in a tumultuous period in history (the Vietnam War, the Sexual Revolution, and Civil Rights), the film fits the times and was groundbreaking in its use of violence, blood, and sex.

The film holds up tremendously well to this day and is beloved by intelligent film lovers everywhere.

The film begins with snapshots of the real Bonnie and Clyde- a duo of bank robbers who rampaged the southwest during the Great Depression.

Set in steamy Texas, circa the 1930s, the film tells its story.

Clyde Barrow (Warren Beatty) meets Bonnie Parker (Faye Dunaway) when he tries to steal her mother’s car one hot day. Instantly infatuated with each other, the steamy duo team up and become partners in crime.

Over time they enlist the help of others and become more successful bank robbers with the stakes rising with each heist. Rounding out the crew of criminals are gas-station attendant, C.W. Moss, and Clyde’s older brother Buck, played by Gene Hackman, along with his wife, Blanche (Estelle Parsons), an innocent-minded, and sometimes hysterical, preacher’s wife.

Bonnie and Clyde is a unique film in many different ways- the quick-cut editing style influenced Sam Peckinpah in his films to come, and the film uses a fast-paced rat-a-tat-tat style that symbolizes the gunfire-a major element of the film.

Blood spurts from victims’ bodies in a style never before seen on the big screen and led to many filmmakers’ comfort with using increased violence.

You could say that Bonnie and Clyde took away the innocence of Hollywood films and shook all of the traditional elements inside out.

The conclusion of the film is one of the greatest in cinematic history.

Far from an idyllic, happy ending, traditional with films in those days, the law finally catches up with Bonnie and Clyde with grim results for the pair, and their demise is gruesome but true to form.

We have fallen in love with the characters so their hasty exit from this world is tough to stomach and as they writhe and twitch with each gunshot wound, the bullets pummeling the bodies, the scene is a difficult one to watch.

The love story between Bonnie and Clyde is intense, yet sweet, and the casting of Beatty and Dunaway is spot on. Smoldering with sexuality- as Bonnie fondles Clyde’s gun who does not see this as a phallic symbol- their relationship is fraught with stamina and emotional energy.

The two actors feed off of each other and fill the scenes with gusto. Their chemistry is part of what makes the film so great.

One of the best scenes is the shoot ’em up showdown at a ranch where the group of robbers is hiding out the scene is laden with intensity and violence. As Buck is mortally wounded, Blanche is blinded and captured, soon to make a grave mistake in revealing one of the identities of the others.

Bonnie, Clyde, and C.W. barely escape with their lives and their antics from this point become bloodier and bloodier. The cat and mouse play during this scene makes it the most suspenseful of them all.

Amid all of the violence, a wonderful scene exists when Bonnie and Clyde meet up at a secret location with Bonnie’s mother. A local townswoman and non-actress were cast in the pivotal role of Bonnie’s mother and the scene is an emotional experience.

The woman’s kindness and sensibility and the sheer “regular person” she encompasses humanize Bonnie and Clyde, and ominously, their downfall is soon to occur.

A heavily influential film, Bonnie and Clyde is a film that is still quite relevant, especially for those who appreciate the good film, and rich, intelligently written characters, who are flawed, yet humanistic, layered with complexities.

This is what director, Penn, carves out, and the film is an all-time Hollywood classic.

Oscar Nominations: 2 wins-Best Picture, Best Director-Arthur Penn, Best Actor-Warren Beatty, Best Actress-Faye Dunaway, Best Supporting Actor-Gene Hackman, Michael J. Pollard, Best Supporting Actress-Estelle Parsons (won), Best Story and Screenplay Written Directly for the Screen, Best Costume Design, Best Cinematography (won)

1971 Films, Children, Fantasy, Gene Wilder, Jack Albertson, Musical, Roald Dahl, Scott's Top 100 Films

Willy Wonka and the Chocolate Factory-1971

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Willy Wonka and the Chocolate Factory-1971

Director Mel Stuart

Starring Gene Wilder, Jack Albertson

Top 100 Films #17

Scott’s Review #206

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Reviewed December 18, 2014

Grade: A

More than just a children’s movie, Willy Wonka and the Chocolate Factory (1971) is a terrific, imaginative, fantasy film that is timeless and meant for all ages to enjoy.

The mastery and creativity of the sets and art direction are astounding and the story is sweet, whimsical, and capturing. Often with children’s movies, we are treated to dumb or contrived stories that will entertain five-year-olds, but make adults bored or cringe.

Willy Wonka and the Chocolate Factory is none of the above. It is intelligent and filled with magic and heart.

Charlie Bucket is a poor child whose mother washes clothes for a living. Along with his four bedridden grandparents, they live a meager existence in a small cottage somewhere in Europe.

Particularly close with his Grandpa Joe, the two of them become obsessed with a contest held by mysterious Willy Wonka, the owner of an enormous chocolate factory nearby.

The contest consists of five “Golden tickets” being hidden in Wonka bars. The five lucky winners will receive a lifetime supply of candy and a tour inside the long-since-closed chocolate factory.

After a series of circumstances, Charlie obtains one of the tickets and the adventure begins.

The build-up to the trip into Willy Wonka’s factory is gripping- mainly because the viewer knows that a magical treat is in store and is filled with curiosity- what will the chocolate factory look like? What is Mr. Wonka like?

The four other winners- Augustus Gloop, Veruca Salt, Violet Beauregarde, and Mike Teevee are all unique and creatively written characters- all spoiled brats in their way, so Charlie is the “normal” child and has a true rooting value to him.

As the five children, along with a designated parent- or in Charlie’s case, Grandparent, begin their journey throughout the chocolate factory the audience is treated to a psychedelic experience with fantastic sets- a river made of chocolate, an entirely edible garden, lickable wallpaper, a bubble room, and a frightening riverboat.

The film is bright and colorful within the walls of the factory which perfectly contrasts Charlie’s dreary existence in the outside world.

As the four bratty children meet their fates in joyfully imaginative ways- gum chewer Violet blows up like a blueberry after chewing experimental Wonka gum that she is warned not to, Veruca is deemed rotten after throwing a fit and topples down a garbage chute.

The film is breathtaking and imaginative, filled with wonderment.

Gene Wilder plays the role of Wonka as over-the-top and it works tremendously.

All of the child actors play their roles competently as each character is distinguished from the others.

I love the scary riverboat tunnel scene as it is frightening, psychedelic, and magnificent. I also love the contrast between the enchanting colorful second half to the bleakness of the first. The sets are some of my favorites in their lavishness.

Specifically, the relationship between Charlie and Grandpa Joe is wonderful. Grandpa Joe is a father figure to Charlie, but so is Willy Wonka in a completely different way.

The greed of the children is also interesting and one hurrahs as each one gets his or her comeuppance.

The songs from the film are remarkable and quite cutting edge- each time one of the lucky five golden ticket winners meets their doom, the Oompa Loompas sing a tune that visually has weird shapes and colors-psychedelic and very hippy, of the late 1960’s-early 1970s era.

Other numbers such as “I’ve Got a Golden Ticket”, “Cheer up Charlie”, and “The Candy Man” are memorable.

A film for the ages, Willy Wonka and the Chocolate Factory (1971) is a celebration of creative film and quite cerebral at times and is far superior to most children’s fantasy/musical films.

Skip the 2005 remake starring Johnny Depp and enjoy the original.

Oscar Nominations: Best Scoring: Adaptation and Original Song Score